The
Frenchman who combined Jazz with Entertainment
The War-Years in South America and the Post-War Eraby
Georg Lankester
In my publications on famous European band leaders from the Thirties/Forties of last century, Ray Ventura should certainly be mentioned. Going deeply into the French jazz scene, I discovered how many important French and Belgian jazzmen joined his orchestra. He was a great organiser and always managed to engage the best musicians of his time.In a previous blog I gave an account of Ventura's career before WW2 - below follows the second part of my article focusing on the War-years and the post-War period.
Away from the war scene
In 1940 when France was more and more occupied by the
Germans, thousands of people moved away
from Paris in order to find free areas. Ray was among them and after a lot of
trouble he ended up in Lyon, still free from Germans. He happened to find there
several of his band members and decided to form an occasional orchestra, again
under the name “Ray Ventura & The Collegians”. His first band was
established 10 years before and had given him a lot of popularity, an
advantage.
And
again the excellent musicians and showmen like Coco Aslan and Paul Misraki.were
gathered around him. Moreover he recruted players such as Pierre Allier, André
Ekyan and Adrien Terme. I can add to this that Micheline Day, Paul’s girlfriend
was singing in the his orchestra as well.
They
performed frequently in the South of France and sometimes in Switzerland.
However, the occupation was ongoing and the anti-Jewish propaganda became more
and more stronger. In Marseille they experienced serious incidents so that Ray
and some of his fellow-musicians of Jewish origin in secret decided to leave
France. But how?
Micheline Day and Coco Aslan ( source: Les grands orchestres de Music Hall en France)
Thanks
to a miraculous inspiration and with financial support of a benefactor, a
certain Mathalon, Ray got visa for all to leave the country. Singer Micheline,
who worked in Nice, was - despite the ban to bring English text - still singing
in this language. She was then no longer allowed to perform in the ‘Alpes
Maritimes’ and pursued till Cannes. Threathened she finally accepted the advice
of her friend Paul and took the decision
to join the others and also to
leave for Rio de Janeiro.
Ray Ventura and his orchestra in Casino de la Urca ( Rio de Janeiro) (1942) ( source: Les grands orchestres de Music Hall en France)
In
November 1941 after a last performance in the Cahors, the almost complete band
went to Madrid via Toulouse. At the end of the month they boarded on a Spanish
ship on its way to Brazil (35 days sailing). First there was some fear for
German submarines, but they safely arrived in Rio.
Ray
now formed a ‘war orchestra’ (which included singer/guitarist Henri Salvador)
and he soon got successful performances
in the most important Brasilian towns. Then in 1942 the band travelled to
Urugay where they presented a big show in the Grand Theatre of Montevideo
followed by other theatres and cabarets. Since the inhabitants of this country
were very fond of the French culture, the band met a lot of enthusiasm.
Then
the orchestra left for Argentina where it arrived in July 1942. This country
was neutral, there was plenty of food and no shortage of money. The band could
take advantage of these circumstances and was soon playing in the popular
cabaret “Tabaris”. Although the audience was crazy about the Tango, produced by
many artists – in fact competitors -
they yet met a lot of interest in their kind of music. They were playing
month after month and Ventura even concluded a contract with Odeon, which
company made a lot of band records.
Apart from this other activities took place. Bass player Louis Vola, who formed part of the famous Hot Club quintet with Django Reinhardt and Stéphane Grappelli, founded a similar group and even recorded for Victor Argentina.
Below a recording by Ray Ventura and his orchestra, Ménilmontant, recorded in Argentinië (1942) with Coco Aslan ( Odeon 45812)
The
Ventura band switched now from Odeon to a smaller record company called
“Syncopa e Ritmo”. Further other small formations (the band within a band) held
sessions with musicians like Henri Salvador, Pierre d’Hellèmmes, Pierre Allier
and Max Mirlirot.
All
were at ease and successful. And as to Micheline, she married an Argentinian which fact was in favour of
the band too. Misraki created lots of songs and also worked for the film
industry. He became a celebrity, admired
in all South American countries.Though the band members played with diferent
groups, the complete Ventura band remained active and still had many performances.
It was only around 1954 that the band broke up.
The last episode
After
the liberation Ray and Paul travelled to the United States. Paul was soon involved in the film industry and would stay in
Hollywood for a long time. Ray went back to Europe, first to Belgium and then on
to his native country. Once back in France he formed a new band again which
included several dedicated band members like Henri Salvador, Guy Paquinet,
Gérard Lévèque, Marcel Croustier, Max Hugot and Max Elroy.
Although
the taste of the audience had changed a bit, Ray was yet successful in his
performances; several film recordings were made as well. His orchestra can be seen
in the following movies: “Mademoiselle s’amuse”(1947), “Nous irons à Paris”
(1949) and “Nous irons à Monte Carlo”(1951) – all these produced by Ray himelf.
The
next years he was more and more passionated by films and starting from 1954 he
left all music behind him. Only once in a while he played with an occasional
band and recorded for his own label “Versailles”. However, new successes failed
to occur and gradually all was in decline. His enthousiasm and his role was
over! A few years later he left France and settled in Palma de Mallorca where
he eventually died on March 30, 1979.
Summary
Ray
Ventura did not invent “Jazz en scène” himself. An American, an Englishman and
Grégor in Paris succeeded long before. But during the Thirties he
perfectionated this kind of music considerably, which is proven by many of his
records and film recordings. Other band leaders such as Fred Adison, Jo
Bouillon and Jacques Hélian never have been able to match the Ray Ventura band.
Some examples of his recordings: I’m afraid of you
(1928), Good for you (1930), St. James infirmary & Saint Louis Blues
(1932), Just an idea (1933), La-mi-re-sol (1937), I got rhythm (1938) and
Louise (1939). Previous: Ray Ventura (1908-1979) - piano player and band leader - part 1
Nederlands: part 1 - here part 2 - here
Georg Lankester
keepswinging@live.nl
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